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I think some people can’t separate what the first Star Wars did versus what Tron Legacy does. Star Wars told a story that left a lot of room for imagination, be it bullseyeing wamp rats, or what the dudes from the bar did on their off hours. Han and Lando’s relationship from before. Et cetera. The thing is you don’t need any of that information. The prequel trilogy proved that you didn’t need to see how Anakin became Darth Vader, or how the Emperor came into power. Whereas with Tron Legacy, a lot of the readings of the film that are positive fill in narrative blanks that should have been provided in the text itself. What does being an Iso really mean, and what are the practical ramifications of Clu’s plan?
I loved this paragraph. Just wanted to say that.
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There are a number of films this year – and for the last couple – that don’t come across as passion projects so much as brand name products that people will pay to see. Pirates 4, Men in Black 3, etc. The levels of perfunctory-ness have changed how the writing process happens, so a release date is more important than having a story to tell.
Do you think having people like Aronofsky coming on to do The Wolverine, or even Bill Condon and Rob Marshall on Breaking Dawn and Pirates 4 respectively, might have an effect on those sequels when it comes to their filmic value? I mean, Singer certainly made X2 worthwhile. These guys actually seem to take out hours from their days to sit down and think about these projects, regardless of how much baggage is already being lugged around behind them when it reaches their desks. Well, actually, Singer had a step up since he was at the helm for the first movie, but still.
Also, breaking from your Madagascar reading, how far-fetched is my Brother Bloom reading that Brody is an action movie star who wants to branch out to more serious fare, while Ruffalo is Bruckheimer/Silver and Weisz is an indie movie director and/or audience?
